Theory of Narrative Structure

There are a number of theorists who write about narrative structure. They each comment on different features of film narratives and give an idea of set conventions, not just in gangster films, but in virtually all films.

Tzetan Todorov
Todorov speaks about the structure of the narratives and the key steps. First, there is equilibrium at the beginning of the film. This does not necessarily mean that everything is good, but there is no major storyline and there are no issues that need to be solved. In gangster films, this is often a point when the gang is operating as usual and there is no threat to them.

The second step is disequilibrium. Something in the story happens that causes things to change. The lack of equilibrium now means that something has to be fixed. This is the build up to the main part of the film. Again, in gangster films this could be something like the police getting involved or the introduction of a rivalry between gangs.

Acknowledgement of the disequilibrium is next. This is when the characters become aware of the problem and realise that they have to do something. At this point, the protagonist gets ready to begin their task. This is often only a short part of the film, but it opens up the main story, attempting to repair the disequilibrium.




Attempting to repair the disequilibrium is often the main chunk of the narrative. The protagonist and other 'good' characters will try to fix the problem. This is where most of the action will take place, in gangster films especially. There will often be a variety of tasks for the protagonist to complete.

At the end, equilibrium is restored. This doesn't mean that everything is back to how it was before, but the problems that cause the disequilibrium have been solved and the film and characters return to normality. In gangster films, this often involves getting away with a crime, getting rid of a gang (From a police perspective), or reaching a point of power.

Commonly, gangster films follow this structure, albeit often only from the perspective of one character at a time. There isn't always one set protagonist for the story to follow and it often branches, following several different characters. Turkish's story from Snatch is one example.

There are also gangster films that don't follow this structure. Pulp Fiction doesn't have a linear storyline and as a result, the steps are in a different order.


Vladimir Propp
Propp speaks about the characters in films and how there are always characters that fit a certain role.

Protagonist (Hero) -- Leads the narrative. Looking for something/Trying to solve something.

Antagonist (Villain) -- Gets in the protagonist's way.

Heroine -- Prize or reward for the protagonist.

Father -- Authority figure. Offers reward for completing quest. Not necessarily an actual father.

Helper -- Helps the protagonist. Like a sidekick.

Donor -- Gives the protagonist something, e.g. a clue, a weapon.

Mentor -- Teaches and guides the protagonist.


Many gangster films follow this structure. There are often a lot of characters involved and as a result, most of the characters on the list are included. Gangster Squad is a good example of a film with this structure. It includes almost all of the characters listed, all of which are very clear.

Roland Barthes

Barthes came up with a theory for understanding the narrative of films. He identified 5 codes that help the viewer to interact with the film and think in a certain way. 2 of the most noticeable and important codes are Action Codes, and Enigma Codes.

Action Codes - An action that implies something to further the narrative. It indicates to the audience that something is going to happen, often relating to the the object or character shown in the action code. A good example would be a shot or a character, quickly cutting to a shot of a weapon, and then cutting back to another character.

Enigma Codes - An enigma code is any element of the story that is not explained, but is occasionally hinted at. This raises questions from the audience who want to discover more about the narrative.

Claud Levi-Strauss

Levi-Strauss' theory was called binary opposition. It was the idea that many things have opposites, and by exploiting this, it could give a much deeper meaning to the story. It is used a great deal in gangster films as it can help identify key points in the narrative. It is also used to help identify the Protagonist and Antagonist.

Common Opposites: | Light vs Dark | Good vs Evil | Noise vs Silence | Youth vs Age | Right vs Wrong | Poverty vs Wealth | Strength vs Weakness | Inside vs Outside |